Unheimliche Geschichten

One of the finest and most underrated film's from the Weimar Era, "Eerie Tales" (Unheimliche Geschichten) is a watchable and entertaining mix of horror, suspense and fantasy. When portraits in a bookstore come to life and enact stories from classic literature then one knows one is in for quite a unique treat. With its modernist touch despite the standard theatrical acting of the time, the creepy atmosphere that pervades throughout the film, the striking black and white and its unsettling plots the movie foreshadowed the fabled Expressionist genre that was shortly to come. I watched this primarily to view Anita Berber and it was interesting to see Weimar Germany's most notorious femme fatale in action. Though no conventional beauty she had a charm with a tough knowing look that reveals the complicated personality she was known for. Although long and seeming to go on forever the film moves at a consistently steady pace despite its age. A distinct artifact from a fascinating time this is one relic from history that's memorable and worth the watch.

The original negative of Eerie Tales is lost; what remains is a partial restoration.

The film, an anthology, begins with a prelude in an antiquarian bookshop. After the shopkeeper turns out the lights at night, the characters in three portraits -- the Devil, a prostitute, and Death -- come alive and read scary stories, each tale depicted featuring the same actors (Reinhold Schünzel, Anita Berber and Conrad Veidt) who play the living paintings.

In the first story, the Apparition, a man falls for a woman who is being stalked by her abusive ex-husband. When the woman disappears, the man discovers that the woman died of the plague. Or at least I think that is what happened. I have to admit that I was little confused, the lack of adequate title cards for the dialogue making this one difficult to follow.

Next up is The Hand. Two men play a game of dice to decide which of them will romance the beauty that they both have the hots for. The loser of the game promptly strangles the winner, but is haunted by the dead man's ghost. A mediocre tale of the macabre, although the ghostly footprints and the spectral hand effects were fun.

Director Richard Oswald tackles Edgar Allen Poe's The Black Cat next. I am sure you know the story to this one, suffice to say that this version holds few surprises but is still reasonably entertaining.

The penultimate story is Robert Louis Stevenson's The Suicide Club, in which a man is inducted into a club where the members gamble with their lives. This one is a lot of fun, as the man draws the unlucky Ace of Spades from a deck of cards and is given only a few minutes left to live. Both The Black Cat and The Suicide Club would be revisited by Oswald for his superior 1932 talkie Tales of the Uncanny.

Lastly, we have The Spectre, a rather weak tale to finish with. A married woman is romanced by a baron, her jealous husband pulling some spooky pranks to frighten the bounder.

Having read their stories, the three characters from the portraits resume their places within their frames.

4.5/10, rounded up to 5 for all of the heavy black eye make-up.

"Richard Oswald's "Eerie Tales" debuted with a length of 2318 metres, July 16, 1920, after a premiere on November 6, 1919. The original negative is considered lost. This restoration is from Cinematheque Francaise. The film currently has a length of 2230 metres."

Paintings of Death, the devil, and a prostitute come to life in a bookstore, after hours, and read each other five tales of horror, to amuse themselves, in this early anthology film.

Each of the three leads take on different roles in each of the five stories, giving each actor an opportunity to show a wide range, and the film has a good look to it, plus I've always had a certain affinity for anthology horrors, but the problem with this is that it's not scary. I was hoping for a bit more fright for my 31 Days of Halloween horror. Die Erscheinung, by Anselma Heine, and Poe's Die Schwarze Katze were the best of the segments, while the rest were overly dramatic.

EERIE TALES is perhaps the earliest example of the horror anthology film. It has a wraparound tale starring Conrad Veidt, Reinhold Schunzel, and Anita Berber as characters in bookshop portraits come to life. The stories are:

THE APPARITION- A man (Veidt) saves a woman (Berber) from an attack by her insane husband (Schunzel). When the two new acquaintances arrive at a hotel, things take a strange and unpredictable turn.

THE HAND- Two men (Veidt and Schunzel) roll dice to determine who will go out with the woman (Berber) they both desire. The outcome leads to tragedy for one, and a haunting for the other. A seance proves to be very interesting.

THE BLACK CAT- A man (Veidt) covets a drunkard's (Schunzel) beautiful wife (Berber). When loverboy makes his move, the besotted husband gets wise. Horror ensues. This is a particularly good version of Edgar Allan Poe's story about the pesky feline of the title.

THE SUICIDE CLUB- A man (Schunzel) becomes curious about a group of men meeting in a supposedly uninhabited house. They're led by a mysterious figure (Veidt). Upon being allowed to join the club of the title, he realizes that it's far darker than he could ever have imagined. This one has a nice twist at the end. Ms. Berber has a very small part.

THE SPECTRE- The bored, neglected wife (Berber) of a nobleman (Veidt) believes that her luck may be changing when a handsome Baron (Schunzel) happens to need lodging for the evening. When the husband is called away suddenly, the Baron sees his chance for romance. This one is the weakest of the stories. It's okay, but sort of a letdown after the other four.

The wraparound wraps up in comedic fashion. All in all, a solid, silent classic worth watching...

This is an anthology series. It is introduced by three characters in ghoulish makeup. They cavort around a bookstore after hours and find a couple stories to then turn into short films. The two most famous are Poe's "The Black Cat" and Robert Louis Stevenson's "The Suicide Club." Of course, being silent, there is the obligatory overacting, but the three principle characters ham it up and tell some decent stories. The first drags on and could have used a bit more editing. But, as a whole, things work pretty well. Conrad Veidt is the scene stealer with those dark eyes and intense postures. I have been reliving silent films lately and this one is decent.